ALBUM REVIEW: Michael Mizrahi’s “Currents”

by Maggie Molloy

Mizrahi-Hi-Res-10_oClassical music is fluid. Try as we might, we can never pin down a definitive “beginning” or “end” to the arbitrary musical eras we’ve created. And while we may broadly categorize music as Baroque or Classical, Romantic or Modern, ultimately all of these seemingly individualized movements blend into a much broader pool: the Western classical music tradition.

But this pool is not static—it continues to change and evolve as composers and performers continue to make waves in the contemporary music world.

That’s the premise behind pianist Michael Mizrahi’s new album of solo piano works, “Currents.” Recently released on the New Amsterdam record label, the album brings together six impeccably performed and expertly recorded new American piano works, almost all of which were written specifically for Mizrahi’s idiosyncratic sound, style, and musical approach.

The result is a unique addition to the 21st century solo piano repertoire that, as the title suggests, embodies movement forward, building on the great piano works of the past while also expanding and propelling the solo piano works of the future. The album features works by Sarah Kirkland Snider, Troy Herion, Mark Dancigers, Asha Srinivasan, Missy Mazzoli, and Patrick Burke.

 

The album begins with the title track: “The Currents” by Sarah Kirkland Snider. Perhaps best known for her song cycles (which feature the inimitable voices of Shara Worden and Padma Newsome), this solo piano piece carries the same flowing lyricism and sensitivity as Snider’s vocal music—but without any of the words. Mizrahi’s fingers swim gracefully through the ebb and flow of the piece, beautifully capturing the depth and breadth of colors that make the currents come to life.

The piece is followed by Troy Herion’s pseudo-Baroque solo piano work, cheekily titled “Harpsichords.” Heavily peppered with trills and musical ornaments, the piece evokes the pristine, transparent textures of the Baroque era while venturing into 21st century melodies and musical forms (or, you know, lack thereof). Mizrahi blends both eras seamlessly.

The slow-moving and sincere “Bright Motion Ascending” is nothing short of sparkling. The work was composed for Mizrahi by his NOW Ensemble bandmate, guitarist Mark Dancigers, as the third installment in his “Bright Motion” trilogy. Mizrahi’s fast fingers transform the piano into a harp, his fingertips gliding effortlessly across cascading arpeggios, from the glistening upper registers of the piano all the way down to its earthiest tones.

Asha Srinivasan’s introspective “Mercurial Reveries” draws upon her Indian-American heritage, weaving in elements from Indian classical scales and modes, along with the occasional (and ever so subtle) jazz piano lick. Over the course of five short movements, she explores a vast terrain of distinctive musical textures, at one point even instructing the pianist to physically reach inside the piano and stop the strings’ vibrations with one hand while playing on the keys with the other. Mizrahi, as it turns out, plays the inside of the piano with the same precision and grace as the outside.

The work is followed by Missy Mazzoli’s “Heartbreaker,” an intimate piece which showcases Mizrahi’s virtuosity without bleeding over into the showy (and at times superficial) pitfall of many virtuosic solo piano pieces. The piece starts out deceptively simple, but quickly spirals into freewheeling abandon, dancing just within the limits of the pianist’s control.

The album comes to a close with Patrick Burke’s poignant and pensive “Missing Piece.” Mizrahi’s fingers pace across slow-moving triadic harmonies and yearning dissonances, uncovering the work’s clear Romantic underpinnings.

Ultimately, each piece on the album reminds us that there is no clear line between the music of the past and the music of the present. We don’t always have to separate the music into arbitrary categories—sometimes we just need to sit back, relax, and get swept up in the “Currents.”

ALBUM REVIEW: Dreamfall by NOW Ensemble

by Maggie Molloy

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If you’re looking for the latest in contemporary classical, it doesn’t get any more current than NOW Ensemble. The dynamic seven-member group is committed to pushing the boundaries of the classical chamber music tradition, often crossing into new genres and artistic media.

True to their name, NOW ensemble infuses traditional Western art music with contemporary music styles such as indie rock, jazz, pop, and minimalism—bringing classical music to new audiences in the here and now.

The foundation for their one-of-a-kind sound is their eclectic instrumentation: electric guitar, flute, clarinet, double bass, and piano. Currently in their 10th year as a group, the ensemble is comprised of artistic director and guitarist Mark Dancigers, flutist Alexandra Sopp, clarinetist Sara Budde, double bassist Logan Coale, pianist Michael Mizrahi, and composers Patrick Burke and Judd Greenstein.

So NOW, what’s the latest?

The ensemble just released their fourth full-length album, an eclectic new music mash-up titled “Dreamfall.” The expansive new release features works by seven remarkable composers of contemporary music: Scott Smallwood, Mark Dancigers, John Supko, Nathan Williamson, Sarah Kirkland Snider, Andrea Mazzariello, and Judd Greenstein.

“It is a state of immense freedom,” Dancigers said of the album’s title. “The sounds on this record reflect this freedom, this sense of something a little out of our hands, and, beyond all else, the practice of making music that is NOW Ensemble.”

Scott Smallwood’s “Still in Here” is the first piece on the album, and it begins with low, grumbling piano trill—in fact, the graphic score denotes a “slow, drunken piano trill” throughout. The piece is atmospheric and dark, even apocalyptic at times. It swells in dynamics, periodically highlighting the unique texture of each instrument above a blur of musical vibrations. Listen for the soft crinkling of a foil stove burner liner amidst the ambiance. (According to Smallwood, “the handi-foil type 302 liner is a good candidate” if you’re looking to perform this one at home.)

The title track, written by Dancigers, showcases a more expressive side of the ensemble. The three-movement work explores an eclectic collection of melodic fragments, similar to a dreamland—one moment here and the next somewhere completely different. “Dreamfall” showcases the ensemble’s full range of timbral and textural possibilities, capturing the ever-shifting moods and melodies that we experience once we finally let go and start dreaming.

Speaking of dreams, John Supko’s “Divine the Rest” is nothing short of a mesmerizing daze. It immerses the listener in an ambient electroacoustic soundscape, with calm narration whispering over sparse instrumentation. Each and every note gently rings over the surrounding static to create a slowly shifting musical landscape.

The listener is abruptly awoken from this trancelike state with an audacious piano slide introducing the next piece on the album, Nathan Williamson’s vivacious “Trans-Atlantic Flight of Fancy.” Harmonies sprawl across the keyboard with rhythmic verve, restlessly pushing forward beneath bold and brash woodwind melodies.

The ensemble again switches gears for Sarah Kirkland Snider’s “Pale as Centuries,” a musical collage which combines diverse, distinctive, and sometimes even mismatched melodic fragments into a single cohesive image.

Andrea Mazzariello’s “Trust Fall” has a somewhat more linear development, growing gradually in drama and expressivity, from its sparse and simple introduction to its climactic close. However, one thing remains a key focus throughout: lush, dolce melodies.

The album ends with Judd Greenstein’s “City Boy,” a colorful musical depiction of a free and fearless young boy, his eyes twinkling as he playfully explores the world around him. The piece moves rapidly from one melodic idea to the next, switching from a jazzy guitar groove to a circling piano motive to a flowing clarinet melody within a matter of minutes.

The piece serves as a reminder of the major themes present throughout NOW Ensemble’s musical ventures: experimentation, innovation, and above all, a genuine enthusiasm for pursing curiosity. NOW that’s what I call contemporary classical!

(NOW Ensemble’s November 2014 visit to our studios)